direttore Paolo Di Maira


photo by Katja Goljat and Matjaz Rust

When East meets West grows every year in terms of the partnerships, the recognition of the projects and the attendance of professionals, so much so that, according to many, it has reached its right dimension. “It is the perfect size and shouldn’t grow any more because this formula allows us to meet all the participants in a relaxed and tranquil manner”, maintains Katriel Schory from the Israel Film Fund who moderated a think thank in Trieste that he defines as being “particularly illuminating” which was organized with EAVEand looked at the journey of the movie industry towards 2025.

While awaiting the results of this exchange, the Trieste co-production market is equipping itself in order to keep up with market evolutions. With an eye on new formats, specifically TV series and shorts.
After launching Midpoint-Feature last year, the training platform for the development of feature length projects for cinema that is continuing by following up the first participants and starting the second laboratory with the first workshop in Trieste, this year WEMW has also welcomed four projects for shorts, again selected by Midpoint and brought to the at- tention of six decision makers chosen in collaboration with the Torino Short Film Market.
“Moreover we would like to launch a new initiative linked to TV series and we are assessing the possibilities with our partner Midpoint” reveals Gropplero, “one idea could be to host a half day Lab dedicated to producers who are interested in entering the world of serial production.”

photo by Katja Goljat and Matjaz Rust

In the meantime Midpoint-TV, the twin program of Midpoint-Feature, was also presented in Trieste: Katarina Tomkova spoke about it when introducing the lecture by Timo Gössler, “Two Worlds of Storytelling-The Differences between Series and Movies”.
The demands of the long-running series market are constantly growing; it is not a coincidence that many festivals and markets have introduced series into their schedules.
This is not the passing phenomenon of a bubble that is destined to burst. Gössler is certain of this and cites the reasons supporting the boom which is pushing the market to even higher levels of turnover and competitiveness. In the meantime series are the ideal content for the new players of online streaming that make the market so globalized and open to new scenarios in which original opportunities for transatlantic co-productions arise (like the one between Sky Atlantic, HBO and Canal Plus which produced “The Young Pope”) and which, among other things, ensure that the country of origin of the series is not necessarily the one that will get the big- gest return on the investment.
Moreover collaborations are launched which, until recently, would have been unthinkable between VOD, Pay TV and broadcasters (see “Deutschland ‘86”, produced by Prime Video and Canale RTL); language is no longer a problem seeing as subtitles are increasingly present and, for example, a series like the German “1983” has had more success abroad, with subtitles, than at home.
Finally, new models of revenue are becoming established where producers keep some rights, through presales, rights connected to the formats and remakes, and there are new possibilities for accessing the funds that sup- port co-productions.

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